Alan Heim is an Oscar & Emmy winning editor. Many will say that he’s one of the greatest editors in the history of cinema. All you need to do it watch “Network” (1976), and “All that Jazz” (1979) to see the uniqueness of his talent. If you haven’t seen those films I highly suggest you do because they are timeless in their themes and character studies. It was an honor to chat with Alan about his career. A career that’s still going strong  at 80 years of age.

Matthew Toffolo: In the last many years you’ve worked with director Nick Cassavetes in collaboration (The Notebook, My Sister’s Keeper, The Other Woman, Alpha Dog). How did you first meet? What makes your working relationship so strong?

Alan Heim: I believe Dede Allen (Editor: The Hustler, Bonnie & Clyde) suggested I cut “The Notebook” and Nick and I have gotten along together very well since…

Greg D’Auria is very modest as you’ll see when you read this interview. He’s a wealth of knowledge and an amazing storyteller – as he seems to be the last to know this! He has worked in the editorial department on over 30 productions in the last 20 years. His list of credits include: Star Trek Beyond (2016), Eloise (2016), Fast & Furious 6 (2013), Django Unchained (2012), & Kill Bill Vol. 1 (2003). It was an honor to interview him:

Matthew Toffolo: You’ve worked as an Assistant Editor on many big Hollywood productions. What is the role of Assistant/Associate Editor? What is the biggest thing you’ve learned doing this task to help you grow as an editor?

Greg D’Auria: I think the main role of an Assistant is to be a traffic cop for the flow of information into and out of the cutting room. I won’t bore you…

DREAMS OR DEMONS, directed by Lisa Svelmoe played to rave reviews at the Under 5 minute Film Festival in July 2016.

Matthew Toffolo: What motivated you to make this film?

Lisa Svelmoe: I was asked to make a film about a relevant media subject and I chose body image.

MT: From the idea to the finished product, how long did it take for you to make this film?

LS: 2-3 months

MT: How would you describe your short film in two words!?

LS: Eerie. Symbolic.

MT: What was the biggest obstacle you faced in completing this film?

LS: Finding the main actress.

MT: What were your initial reactions when watching the Toronto audience talking about your film in the feedback video?

LS: So nice to hear all those great comments. I am convinced once again that you should never underestimate your audience, they are so smart.

MT: How did you…

WALK, directed by Nicola Balhuizen Hepp played to rave reviews at the Under 5 Minute FEEDBACK Film Festival in July 2016. It was an honor to interview her:

Matthew Toffolo: What motivated you to make this film?

Nicola Balhuizen Hepp: In dealing with my father’s ageing process, my films are exploring themes and issues that have to do with age, memory, life and death. I had worked with him on a performance with projected video images in 2006. The material for Walk is actually material that we shot for those projections.

MT: From the idea to the finished product, how long did it take for you to make this film?

NBH: The material was shot in 2006, I had the idea for Walk in november 2014 and finished it by the end of that year.

MT: How would you describe your short film in two words!?

NBH: perpetual, inevitable

Natasha Braier is a Director of Photography on the rise. Her list of credits is already impressive, but 2016 could be her banner year. She is set to film “American Express”, directed by Nash Edgerton and starring Charlize Theron. Her film, “The Neon Demon”, will be coming out later this year. It stars Keanu Reeves & Elle Fanning, and is directed by Nicolas Winding Refn (Drive, Bronson).

For more information, go to: http://www.natashabraier.com/

It was an honor to sit down with the Cinematographer:

Matthew Toffolo: Tell us about THE NEON DEMON. What should we expect to see? Nicolas is a very visual filmmaker – shows more than tells. How was your working relationship with the director?

Natasha Braier: I think working with Nicolas Winding Refn is a gift for any cinematographer, because he is interested in visual story telling, in poetry, in suggesting rather than narrating. He doesn’t care about…